|
|
Post by MrFurious on May 20, 2019 16:37:04 GMT
BPM (Beats Per Minute)(17) Dead Man's Shoes(04)(rewatch)  Embrace of the Serpent(15) To Each His Own(46) |
|
|
|
Post by vegalyra on May 20, 2019 17:32:43 GMT
 Lisbon (1956)  Gold (1974)  Deadfall (1968) |
|
|
|
Post by petrolino on May 20, 2019 22:44:40 GMT
My viewings :
'The Devil's Horn' (2015, Documentary - Larry Weinstein)
Music documentary presenting a history of the saxophone.
'Backtrace' (2018 - Brian A. Miller)
Crime mystery.
'BlacKkKlansman' (2018 - Spike Lee)
Crime drama.
Thanks.
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 7:16:32 GMT
Big fan of Rob Roy because it's more nitty gritty and not given over to Hollywood histrionics. Do not think that all sins go unpunished in this life, Montrose. Rob Roy is directed by Michael Caton-Jones and written by Alan Sharp. It stars Liam Neeson, Jessica Lange, John Hurt, Tim Roth, Eric Stoltz, Andrew Keir and Brian Cox. Music is by Carter Burwell and cinematography by Karl Walter Lindenlaub. Neeson is Rob Roy MacGregor, an 18th Century Scottish historical figure who borrows £1,000 from the Marquis of Montrose (Hurt) with the plan to improve his clan's way of life. But the money is stolen in transit by the dastardly Archibald Cunnigham (Roth), so unable to repay the loan, Roy is forced to live as an outlaw. From such seeds are legends born. Beautifully shot on location in parts of the Scottish Highlands, Rob Roy somewhat got lost in the slip stream of Mel Gibson's Braveheart. A shame, for although not as epic or as rousing as Gibson's Oscar grabber, Caton-Jones' film is a different and more reflective type of historical piece. Thematically the film is a play on virtues, in fact it's a trumpet playing fanfare for such. Honesty, honour, loyalty, fidelity and love nestle in nicely with the wonderful landscapes, born out by Sharp's intelligent script. But that's not to say that the director hasn't got the requisite thrust of stirring adventure within, he has, and Rob Roy rewards in that department as well. The films crowning glory is a climatic sword fight, no tricks or hard to believe heroics, just an expertly shot long sequence that's choreographed sublimely by William Hobbs and Robert G. Goodwin. While Carter Burwell's score sits nice with the visual treats - even if the Gaelic strains within the orchestration sound more Irish than Scottish... Cast work well. Although Neeson looks the part as the robust Roy, there's no need for being dashing here, character calls for strength of mind and body, as well as emotional fortitude with the love of his family, and thus Neeson plays it with ease. Lange, an interesting casting choice as the missus, shorn of make up, yet still naturally sexy, she gives Mary MacGregor believable strength. However, it's undeniably Tim Roth's movie, part effeminate fop, part calculating bastard, his villainous turn as Archibald Cunningham has to be seen to be believed. He was rightly nominated for an Academy Award for his efforts. The rest impact well, Cox and Hurt, great pros as always, and Stoltz too isn't found wanting. There's some iffy accents at times, so what's new there? And if I'm to be churlish, then it often feels wrong in period. Yet they are small complaints in what is otherwise a smart and lovely splinter from the swashbuckling tree. 8/10 Looking forward to Mary Queen of Scots even though it seems divisive. I do love historical pictures. I'm waiting for a second viewing of It (2017) before reviewing it, but I loved it big time, can't wait for part 2!
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 7:23:39 GMT
 This is all I got to share this week > And a child shall lead them... Who would have thunk it, that one of Stephen King's short stories would spawn a gargantuan movie franchise? Children of the Corn is one of those movies that horror fans of a certain age, who started to blossom in the 1980s, remember fondly but agree that now it's a bit, well, corny. Peter Horton and Linda Hamilton get trapped in a village of the damned where the children have killed the adults and established a religious order that gives worship to the devil of the corn. Isaac Chroner (John Franklin) and Malachai Boardman (Courtney Gains) head the creepy kid cult, corn does sway, blood does flow, poor special effects do down the devil, yet it's atmospheric as heck fire and still a bunch of fun if you forgive it its dated foibles. 6/10
|
|
|
|
Post by OldAussie on May 21, 2019 7:28:10 GMT
Big fan of Rob Roy because it's more nitty gritty and not given over to Hollywood histrionics. Do not think that all sins go unpunished in this life, Montrose. Rob Roy is directed by Michael Caton-Jones and written by Alan Sharp. It stars Liam Neeson, Jessica Lange, John Hurt, Tim Roth, Eric Stoltz, Andrew Keir and Brian Cox. Music is by Carter Burwell and cinematography by Karl Walter Lindenlaub. Neeson is Rob Roy MacGregor, an 18th Century Scottish historical figure who borrows £1,000 from the Marquis of Montrose (Hurt) with the plan to improve his clan's way of life. But the money is stolen in transit by the dastardly Archibald Cunnigham (Roth), so unable to repay the loan, Roy is forced to live as an outlaw. From such seeds are legends born. Beautifully shot on location in parts of the Scottish Highlands, Rob Roy somewhat got lost in the slip stream of Mel Gibson's Braveheart. A shame, for although not as epic or as rousing as Gibson's Oscar grabber, Caton-Jones' film is a different and more reflective type of historical piece. Thematically the film is a play on virtues, in fact it's a trumpet playing fanfare for such. Honesty, honour, loyalty, fidelity and love nestle in nicely with the wonderful landscapes, born out by Sharp's intelligent script. But that's not to say that the director hasn't got the requisite thrust of stirring adventure within, he has, and Rob Roy rewards in that department as well. The films crowning glory is a climatic sword fight, no tricks or hard to believe heroics, just an expertly shot long sequence that's choreographed sublimely by William Hobbs and Robert G. Goodwin. While Carter Burwell's score sits nice with the visual treats - even if the Gaelic strains within the orchestration sound more Irish than Scottish... Cast work well. Although Neeson looks the part as the robust Roy, there's no need for being dashing here, character calls for strength of mind and body, as well as emotional fortitude with the love of his family, and thus Neeson plays it with ease. Lange, an interesting casting choice as the missus, shorn of make up, yet still naturally sexy, she gives Mary MacGregor believable strength. However, it's undeniably Tim Roth's movie, part effeminate fop, part calculating bastard, his villainous turn as Archibald Cunningham has to be seen to be believed. He was rightly nominated for an Academy Award for his efforts. The rest impact well, Cox and Hurt, great pros as always, and Stoltz too isn't found wanting. There's some iffy accents at times, so what's new there? And if I'm to be churlish, then it often feels wrong in period. Yet they are small complaints in what is otherwise a smart and lovely splinter from the swashbuckling tree. 8/10 Looking forward to Mary Queen of Scots even though it seems divisive. I do love historical pictures. I'm waiting for a second viewing of IT (2017) before reviewing it, but I loved it big time, can't wait for part 2! Really enjoyed Rob Roy for a 3rd viewing. Great dialogue delivered by a wonderful cast. Mary Queen of Scots - has its moments....but a little disappointing. IT - 2nd viewing, loved the first 2/3 but the finale in the house went on and on.
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 7:38:23 GMT
Border Incident / Anthony Mann (1949). Metro-Goldwyn-Mayer. A great noir from Anthony Mann; it is violent and totally uncompromising. If memory serves, the opening and closing scenes that take place in government offices are the only ones in daylight. The rest of the film is shot at night, in darkness – and the story it tells is just as dark. Two federal law enforcement officers, one from the Mexican police (Ricardo Montalban) and one from the U.S. (George Murphy) go undercover in a joint operation to catch a ring of criminals who illegally smuggle Mexican workers into the U.S. but instead of good paying jobs, they are sold into virtual slavery if not killed and left in the desert. Hard-boiled, hard to watch, ahead of its time, and still relevant. Also with Howard Da Silva, Charles McGraw, Arthur Hunnicutt, Sig Ruman, and a scene-stealing Alfonso “We Don’t Need No Stinkin’ Badges” Bedoya. Edge Of Eternity / Don Siegel (1959). Columbia Pictures. Les Martin (Cornel Wilde), once a big city detective, is now an Arizona county cop doing routine work until a John Doe is found murdered. The Sheriff he works for (Edgar Buchanan) comes under political pressure to solve the case quickly. Filmed entirely on location in, on, and around the Grand Canyon, we get some great shots of the dizzying heights of the canyon and desolation of the high desert. Don Siegel, known first as a director of noir and then of action, takes his sweet and easy time getting down to the murder case as Martin romances the daughter of the mining magnet who controls most of the business around the canyon. A great use of the location, filming in Technicolor and CinemaScope, but a less than gripping murder case. Cornel Wilde’s stunt double dukes it out with the killer’s stunt double high above the Grand Canyon floor  Border Incident. Glad you liked it so much Mike. In lesser hands than Mann's this could have struggled, as it is it turned out very good indeed. The Police and Snakes Are First Cousins. Border Incident is directed by Anthony Mann and adapted to screenplay by John C. Higgins from the George Zuckerman story. It stars Ricardo Montalban, George Murphy, Howard Da Silva, Charles McGraw, Arthur Hunnicutt and James Mitchell. Music is by Andre Previn and cinematography by John Alton. The great Anthony Mann creates what is the perfect crossover movie that blends film noir style with western shadings. Mann would next go on to make the well regarded psychological westerns with James Stewart, Border Incident is the tasty meat in his noir/western sandwich. In essence it's a remake of T-Men, only Mann and his team have shifted away from a hustle and bustle city setting to tell a story down on the sweaty American/Mexico border. We are probing into immigration issues, human smuggling and the abuse of such, Mann and his writers daring to portray the human suffering of farm workers from Mexico, lured in as slave labour, only to then be abused and used and much worse... Having the legendary Alton on photography duties aids the downbeat thematics considerably, whilst also deftly averting attention from what is a pretty bog standard script, the low budgets never a problem where Mann and Alton were concerned. In fact, in noirville they worked it to their advantage with some striking lighting techniques and camera movements. The pic is often vicious, sadistic even, landing violent scenes in the conscious that refuse to move until it's all over and the screen goes blank. Suspense is never far away in Border Incident, with a mostly on form cast (George Murphy is uneven as McGraw does nasty brilliantly) bringing the material to life as the dream team cloak it all in pictorial assertiveness. Not in the same league as Raw Deal, but highly recommended for reasons already stated. 8/10 Edge of Eternity, yep we agree. Great picture BTW! I didn't have a lot to say about it. Satan's Bucket. Edge of Eternity is directed by Don Siegel and written by Richard Collins. It stars Cornel Wilde, Victoria Shaw, Mickey Shaughnessy, Edgar Buchanan and Rian Garrick. A CinemaScope production with music by Daniele Amfitheatrof and cinematography by Burnett Guffey. Contemporary Western that finds Wilde as the local deputy sheriff trying to solve a murder case in the Ghost Town of Kendon. It's not got a strong plot and the performances of the cast are hardly out the top draw, but it's a solid murder mystery set to the magnificent backdrop of The Grand Canyon. Siegel keeps things pacey as Guffey brings the scorching vistas to life, and it all builds to an exciting finale, where some rear projection work not withstanding, it's breath holding stuff. 7/10
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 7:54:14 GMT
 Absolutely love the Insomnia remake, Blanc-Noir at its best. A good cop can't sleep because he's missing a piece of the puzzle. And a bad cop cant sleep because his conscience wont let him.Insomnia is directed by Christopher Nolan and written by Erik Skjoldbjærg and Nikolaj Frobenius (1997 screenplay). It stars Al Pacino, Robin Williams, Hilary Swank, Maura Tierney, Martin Donovan and Nicky Katt. Music is scored by David Julyan and cinematography by Wally Pfister. It's a remake of a 1997 Norwegian film of the same name. LAPD detective Will Dormer (Pacino) and his partner Hap Eckhart (Donovan) travel to the remote Alaskan town of Nightmute to aid the local cops investigating the savage murder of a teenage girl. But Dormer leaves behind an Internal Affairs Investigation that gnaws away at him, and when a potential bust of the murder suspect goes tragically wrong, his conscious gets attacked on two fronts. By lack of sleep and by the killer himself. It's a House of Cards. Viewing from afar it's easy to be cynical and suggest that Insomnia is just an American remake cash in. Bigger budget, bigger stars and directed by an indie darling of the critics moving into the big league. While on the surface the plot looks to be another in a long line of cops and villains thrillers where procedural unfolds and evil is ultimately brought down at the end. Yet Insomnia is so much more than that, it's a deep movie dealing in complex psychological issues, a blanc-noir of some character substance, a picture clinically put together around one mans descent into a private hell, with the beautiful Alaskan backdrop perversely claustrophobic and Anthony Mann like in being at one with Will Dormer's fragmented state of mind. Killing changes you. You know that. From the opening moments as we observe a biplane flying over the Alaskan glaciers, accompanied by David Julyan's nerve tingling score, there's a looming air of disquiet. Nolan knows his noir onions, mood is everything and the dense psychological atmosphere is never once breached for the entire movie. Much of the picture is dialogue heavy, gratifyingly so, with the hushed conversations between Pacino and Williams begging the viewer to hang on every word as cop and killer (no spoiler, it's revealed to us early as a necessity) jostle for control of each others soul. What action there is also comes with a side order of otherworldly delights, a chase across floating logs and a stalk through eerie fog being the two particular highlights. Sleep comes at a cost. With three Oscar winners in the cast Nolan had some serious quality to direct, that Pacino, Williams and Swank deliver excellence is high praise for the British director. Pacino actually gives one of his finest late career performances, utterly compelling as Dormer, his haggard face tells of a thousand sorrows, his sleep deprived gait befits a man staring into the abyss. Wally Pfister's photography is on the money, the blend of snow whites and green tinges sparkle from the vistas and the soft brown hues inside the hotel provide the rare moments of tranquillity available to Will Dormer. Across the board Insomnia is a cracker of a movie, a film that goes into the murky depths of the genre to reveal one of the best movies of 2002. 9/10
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 7:59:39 GMT
hitchcockthelegend Thanks again for your weekly reviews. I have fond memories of “Calamity Jane,” “Midnight Lace,” and “Maverick” but want to discuss two others. I surprised myself at how much I liked “Pitfall.” Powell and Burr are perfect for their roles. I have read and heard a lot of shade thrown at Lizabeth Scott’s acting but in the few films I have seen of her’s she does fine. In “Pitfall” she plays a (mostly) innocent and well-intentioned person who gets caught up in unfortunate circumstances. Jane Wyatt, who in about five years after “Pitfall” becomes America’s ideal of the 1950s mother and housewife in the classic TV series “Father Knows Best,” has a great scene when she learns of Powell’s adultery. I loved the way she lashes Powell when she learns of his adultery and connection to the man he has shot, “Conscience. You make it sound like a dirty word. You’re worrying about your filthy little conscience…You lied once. It was easy enough for you then. You’ve got to lie now”. I had never seen that side of her before. She’s almost scary. I think I love her. About 45 min. into “Pitfall” Dick Powell parks his car (a 1948 Studebaker Land Cruiser). In the background is the May Co. Department Store at Wilshire and Fairfax in Los Angeles. That same building is, as we speak, being renovated as part of the Academy Museum of Motion Pictures scheduled to open late this year.   The second I want to mention is “Alien.” I saw this during its first theatrical run in 1979 (in Abbotsford, Wisconsin) and was among one of the first audiences to be treated, without warning, to THAT scene, at dinner on board the Nostromo. I don’t even remember there being a “slow burn” lead up. The (to use a recent phrase) world-building – making the people and the spaceship almost tangible – then the search for the distress signal captivated the attention. Later, during the home video era, I was amazed to learn that the shocker comes almost an hour into the story. Beautifully done. And I love Sigourney Weaver in the movie. After this film and its sequel, “Aliens,” I vowed that if I ever had a daughter, I would name her Ripley. Alas, that was not to be. NOTE: “Alien” also got a theatrical release (the extended version) in 2009 for its 30th so I got to see it again on the big screen. Will be back later Mike, gotta pop out.
|
|
|
|
Post by wmcclain on May 21, 2019 11:21:02 GMT
Children of the Corn is one of those movies that horror fans of a certain age, who started to blossom in the 1980s, remember fondly but agree that now it's a bit, well, corny. Linda Hamilton singing "School is Out" is all I need:
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 15:17:53 GMT
hitchcockthelegend Thanks again for your weekly reviews. I have fond memories of “Calamity Jane,” “Midnight Lace,” and “Maverick” but want to discuss two others. I surprised myself at how much I liked “Pitfall.” Powell and Burr are perfect for their roles. I have read and heard a lot of shade thrown at Lizabeth Scott’s acting but in the few films I have seen of her’s she does fine. In “Pitfall” she plays a (mostly) innocent and well-intentioned person who gets caught up in unfortunate circumstances. Jane Wyatt, who in about five years after “Pitfall” becomes America’s ideal of the 1950s mother and housewife in the classic TV series “Father Knows Best,” has a great scene when she learns of Powell’s adultery. I loved the way she lashes Powell when she learns of his adultery and connection to the man he has shot, “Conscience. You make it sound like a dirty word. You’re worrying about your filthy little conscience…You lied once. It was easy enough for you then. You’ve got to lie now”. I had never seen that side of her before. She’s almost scary. I think I love her. About 45 min. into “Pitfall” Dick Powell parks his car (a 1948 Studebaker Land Cruiser). In the background is the May Co. Department Store at Wilshire and Fairfax in Los Angeles. That same building is, as we speak, being renovated as part of the Academy Museum of Motion Pictures scheduled to open late this year. The second I want to mention is “Alien.” I saw this during its first theatrical run in 1979 (in Abbotsford, Wisconsin) and was among one of the first audiences to be treated, without warning, to THAT scene, at dinner on board the Nostromo. I don’t even remember there being a “slow burn” lead up. The (to use a recent phrase) world-building – making the people and the spaceship almost tangible – then the search for the distress signal captivated the attention. Later, during the home video era, I was amazed to learn that the shocker comes almost an hour into the story. Beautifully done. And I love Sigourney Weaver in the movie. After this film and its sequel, “Aliens,” I vowed that if I ever had a daughter, I would name her Ripley. Alas, that was not to be. NOTE: “Alien” also got a theatrical release (the extended version) in 2009 for its 30th so I got to see it again on the big screen. Hiya mate. The Lizabeth Scott quandary is most interesting, especially to me since I don't mind her at all. Also on the old film noir board on IMDb there were also like minded serious noir heads who didn't mind her either, so maybe over the advent of time her standing has gone up as new generations of noir fans seek out her films? Pitfall is a very good film and definitely one for noir fans to seek out. I expected better purely because of the word of mouth in noir circles, but certainly I'm not disappointed to have finally tracked down a copy of it. Yes it was fun watching Wyatt in this, sexily feisty and sharp of tongue. Thanks for the pics, I love those "what they look like now" photographs. Is that a Studebaker? I thought it was a Tucker Torpedo! I have a collection of Dinky replicas that I bought as an investment many years ago and I have them on display in a cabinet in my home, and I thought when Powell pulled up it was a Tucker. Bear in mind I am British  There is no denying that being able to see Alien back on release and not knowing about that dinner scene made it simply brilliant - still packs a punch even now though. I wish all cinema lovers were as committed to slow burn as you and I clearly are. I actually find that first hour even more beguiling on each revisit, it's classic Ridley Scott. Thanks for the post Mike 
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 15:36:49 GMT
Hi all,I hope everyone is having a good weekend,and this weekend I found that director Uwe Boll now does "reviews" on Letterboxd. Boll is "based" letterboxd.com/uwebollraw/I've also seen: Swedish smut duo:  Exponerad (1971) 7 Looking like prime jail bait, (not that I’m a expert on jail bait!) fittie Christina Lindberg gives a delirious turn as Svensson,who drips with a sweet as honey,butter wouldn't melt in her mouth innocence from Lindberg. Snapped out of her breezy state, Lindberg twists Svensson’s enticing image into a calculating backstabber. The lone movie in the set not directed by Torgny Wickman, co-writer/( with cinematographer Tony Forsberg) director Gustav Wiklund capture Svensson’s naive innocence with warm Autumn colours painted along panning shots following Svensson and friends in the countryside. Clicking away into sleaze, Wiklund offers a eyeful of sexy Lindberg with stylish overlapping montages of secret photos,and a unsettling calm stillness gazing at Svensson planning her revenge moves. Tearing away her care-free nature, the screenplay by Wiklund & Forsberg interestingly stays in flux between the Grindhouse and the Art House,as wonderfully saucy skin antics of Svensson are balanced by a simmering family drama,lit by Svensson being left exposed.  Language of Love (1969) 2 Done a few years before the Golden Age of Adult Cinema started rising, director Torgny Wickman keeps to a matter of fact manner,with the dry discussions on sexual education being saved by the meek clothes. Keeping clinical,Wickman pairs the shot with the lights off sex scenes with animation detailing the intercourse, and chopping off any feelings of erotica from a loving language. British Sex Comedy duo:  What Swedish the Butler Saw (1975) 5 Spending 3 years on what would be the final production he would write and direct, (he continued to produce flicks afterwards) co-writer/(with Barry Downes) director Vernon P. Becker & cinematographer Tony Forsberg display a delightful level of ambition,in the 3D set-pieces for the first 3D feature made in Sweden, (that were a nightmare to create) dipping into erotic surrealism. Buttering the viewer up with the eye candy of Swedish fitties on screen, Becker matches the beauty of skin shown panning shots filmed in a mansion owned by the Swedish Royal Family and a ancestral home of the PM. Whilst aiming for something different in the stylisation of the film, the writers disappointingly keep to safe ground for the script, as a Jack the Ripper in hiding sub-plot just fizzles out,and Armstrong's time in the "love nest" is scattered with lightly saucy comedic asides over his chase for Faversham. The only innocent in the love nest and the focus of Armstrong's rush for romance Sue Longhurst gives a jolly turn as Faversham, whose given a sweet naivety over what the butler saw.  Escort Girls (1974) 6 Going for set-ups typical within the British Sex Comedy genre, (an awkward date, mates on a night out)editor/producer/writer/director Donovan Winter joins friend Pete Walker in being one of the few auteurs within the genre,the screenplay by Winter presents deconstructions on the punch-lines of the genre. Stating in a interview on the DVD that including social comment in his work was always important to him, (while also being aware that as a indie producer/film maker his flicks had to be commercial/do well at box office) Winter followers the Christmas Eve escapades of gigolos and prostitutes in 6 separate tales exploring what leads to people hiring escorts (Winter's original title All Lovers Are Strangers was changed by the distributor against his wishes.) Following the escorts and clients to their chosen locations, Winter has them meet "casual racism" one-liners and aggressively sexual one-liners, which are delivered with a light comedic twang, but lands with a clever sourness highlighting the nastiness the escorts (who Winter is non-judgemental towards) face from clients circle of friends. Shot around the crumbling side streets of London,Winter and cinematographers Gus Coma and Austin Parkinson strip the sauciness down with hard natural light and matter of fact, stilted shots towards the naked escorts over the Christmas Eve night. Other flicks: I'm Much Obliged (1936) 4 Dancing for just over 20 minutes, director Roy Mack & editor Bert Frank bring a breezy playfulness to the Musical set-pieces with editing trick shots making the various slick dance acts kick out to the screen. Threading a wafer thin plot, the screenplay by Cyrus Wood just about makes the movie sway on charm thanks to the 30's newspaper chatter of Mr. Inquisitive in making the acts feel obliged. , now that name brings back some funny memories. He was a constant figure of fun on the Film General Board back on iMDB, right at the time when I started using the board. So fond memories for sure.
|
|
|
|
Post by mikef6 on May 21, 2019 17:53:42 GMT
hitchcockthelegend Is that a Studebaker? I thought it was a Tucker Torpedo! I have a collection of Dinky replicas that I bought as an investment many years ago and I have them on display in a cabinet in my home, and I thought when Powell pulled up it was a Tucker. Bear in mind I am British Thanks to you for a good reply. Below is an image from the Internet of a 1948 Studebaker Land Cruiser. The hood and grill ornaments look to me to be the same as on Powell's car. 
|
|
|
|
Post by hitchcockthelegend on May 21, 2019 18:47:04 GMT
You are definitely right 
|
|
|
|
Post by manfromplanetx on May 21, 2019 21:00:23 GMT
Hi there petrolino Just want to say thanks ! absolutely loved the rec from a few weeks back Sladky cas Kalimagdory (1968) and what a treat winter with Magda Vásáryová ...  And Highly Recommended have you seen Sedím na konári a je mi dobre , Sitting on a Branch, Enjoying Myself (1989) Juraj Jakubisko. A masterly creative film on friendship & finding ones space , an out there classic Czech style production, spontaneous unpredictable a wonderfully entertaining cinematic pleasure.... 
|
|
|
|
Post by morrisondylanfan on May 21, 2019 22:32:46 GMT
Hi all,I hope everyone is having a good weekend,and this weekend I found that director Uwe Boll now does "reviews" on Letterboxd. Boll is "based" letterboxd.com/uwebollraw/I've also seen: Swedish smut duo: Exponerad (1971) 7 Looking like prime jail bait, (not that I’m a expert on jail bait!) fittie Christina Lindberg gives a delirious turn as Svensson,who drips with a sweet as honey,butter wouldn't melt in her mouth innocence from Lindberg. Snapped out of her breezy state, Lindberg twists Svensson’s enticing image into a calculating backstabber. The lone movie in the set not directed by Torgny Wickman, co-writer/( with cinematographer Tony Forsberg) director Gustav Wiklund capture Svensson’s naive innocence with warm Autumn colours painted along panning shots following Svensson and friends in the countryside. Clicking away into sleaze, Wiklund offers a eyeful of sexy Lindberg with stylish overlapping montages of secret photos,and a unsettling calm stillness gazing at Svensson planning her revenge moves. Tearing away her care-free nature, the screenplay by Wiklund & Forsberg interestingly stays in flux between the Grindhouse and the Art House,as wonderfully saucy skin antics of Svensson are balanced by a simmering family drama,lit by Svensson being left exposed. Language of Love (1969) 2 Done a few years before the Golden Age of Adult Cinema started rising, director Torgny Wickman keeps to a matter of fact manner,with the dry discussions on sexual education being saved by the meek clothes. Keeping clinical,Wickman pairs the shot with the lights off sex scenes with animation detailing the intercourse, and chopping off any feelings of erotica from a loving language. British Sex Comedy duo: What Swedish the Butler Saw (1975) 5 Spending 3 years on what would be the final production he would write and direct, (he continued to produce flicks afterwards) co-writer/(with Barry Downes) director Vernon P. Becker & cinematographer Tony Forsberg display a delightful level of ambition,in the 3D set-pieces for the first 3D feature made in Sweden, (that were a nightmare to create) dipping into erotic surrealism. Buttering the viewer up with the eye candy of Swedish fitties on screen, Becker matches the beauty of skin shown panning shots filmed in a mansion owned by the Swedish Royal Family and a ancestral home of the PM. Whilst aiming for something different in the stylisation of the film, the writers disappointingly keep to safe ground for the script, as a Jack the Ripper in hiding sub-plot just fizzles out,and Armstrong's time in the "love nest" is scattered with lightly saucy comedic asides over his chase for Faversham. The only innocent in the love nest and the focus of Armstrong's rush for romance Sue Longhurst gives a jolly turn as Faversham, whose given a sweet naivety over what the butler saw. Escort Girls (1974) 6 Going for set-ups typical within the British Sex Comedy genre, (an awkward date, mates on a night out)editor/producer/writer/director Donovan Winter joins friend Pete Walker in being one of the few auteurs within the genre,the screenplay by Winter presents deconstructions on the punch-lines of the genre. Stating in a interview on the DVD that including social comment in his work was always important to him, (while also being aware that as a indie producer/film maker his flicks had to be commercial/do well at box office) Winter followers the Christmas Eve escapades of gigolos and prostitutes in 6 separate tales exploring what leads to people hiring escorts (Winter's original title All Lovers Are Strangers was changed by the distributor against his wishes.) Following the escorts and clients to their chosen locations, Winter has them meet "casual racism" one-liners and aggressively sexual one-liners, which are delivered with a light comedic twang, but lands with a clever sourness highlighting the nastiness the escorts (who Winter is non-judgemental towards) face from clients circle of friends. Shot around the crumbling side streets of London,Winter and cinematographers Gus Coma and Austin Parkinson strip the sauciness down with hard natural light and matter of fact, stilted shots towards the naked escorts over the Christmas Eve night. Other flicks: I'm Much Obliged (1936) 4 Dancing for just over 20 minutes, director Roy Mack & editor Bert Frank bring a breezy playfulness to the Musical set-pieces with editing trick shots making the various slick dance acts kick out to the screen. Threading a wafer thin plot, the screenplay by Cyrus Wood just about makes the movie sway on charm thanks to the 30's newspaper chatter of Mr. Inquisitive in making the acts feel obliged. , now that name brings back some funny memories. He was a constant figure of fun on the Film General Board back on iMDB, right at the time when I started using the board. So fond memories for sure. Boll has gone from a figure of fun on FG,to a "troll" legend on Lettboxd,Spike. Boll rolled out a Baby "review" today: Uwe Boll added Million Dollar Baby 2004 ½ a star "Million dollar piece of shit. It starts off ok, kind of like a female Rocky but with a cranky old codger in the corner instead of the penguiin or Stallone. But anyway, Clint Eastwood is so distracting to this poor girl training the shit out of herself that she bites her own tongue because she wants the old man out. Instead she is left to lay in bed with him harassing her to the end of her days. And the entire second half of the movie about her in the bed and Clint brings everyone by and they all bother her when all she wanted was the fucking tv remote and like a Nintendo or some bullshit. So she dies. And the audience died too like skeletons in the seats of the movie theater because this movie let's all admit sucked " Like review 17 likes letterboxd.com/uwebollraw/film/million-dollar-baby/
|
|
|
|
Post by rudeboy on May 22, 2019 4:31:30 GMT
9
Fallen Angels (1995) Wong Kar-Wai
7
Record of a Tenement Gentleman (1947) Yasujirō Ozu
6
The Magdalene Sisters (2002) Peter Mullan
That Eye, the Sky (1994) John Ruane
Le Silence de la Mer (1949) Jean-Pierre Melville
The Tracker (2002) Rolf de Heer
5
Beautiful Boxer (2004) Ekachai Uekrongtham
Anna Karenina (2012) Joe Wright
I Married a Monster from Outer Space (1958) Gene Fowler Jr.
Macbeth (1948) Orson Welles
Pursuit to Algiers (1945) Roy William Neill
4
One Million B.C. (1940) Hal Roach & Hal Roach Jr.
|
|
|
|
Post by hitchcockthelegend on May 23, 2019 5:41:07 GMT
The Killing (1956) Notorious (1946) Both great 
|
|
|
|
Post by hitchcockthelegend on May 23, 2019 5:49:42 GMT
 This one I liked. British Gangster movie, tense and unnerving as a Gangster Boss of London suddenly sees his whole world crumbling by an unkonwn enemy that doesn't play by the rule book. Hoskins and Mirren are great as the gangster and his wife, not the usual gangster's moll but very much aware of her husbands affairs and takes very much part of them. Glad you liked The Long Good Friday 
It's not about safety, it's about honour.
It's the early 1980s, it's Good Friday, and Harold Shand is waiting to entertain some powerful American muscle. He hopes to get them to help fund his dockside development, but someone is murdering his men, and although Harold has a good idea who is responsible, he isn't quite prepared for the events that follow.
Plot wise, The Long Good Friday is a lesson in under taxing the audience, simplicity in structure and forgoing thunder in the name of telling a solid story. The Long Good Friday is a British gangster picture that owes more to the Paul Muni and Edward G Robinson pictures from the golden age than something like The Godfather. Where the characters are men of the street, working class villains who literally could be living around the corner from us, their respective antics giving them a reputation as infamous stars to be feared - and grudgingly admired.
What many modern day film lovers may not be aware of is that The Long Good Friday had its release delayed, held back a year as Margaret Thatcher and her merry men frothed at the mouth due to the film's portrayal of the Irish Rebublican Army. This was at a time when the Irish troubles were reaching new and terrifying heights, and here in this film, the government sensed a fall out that could have sent wrong message shock waves across the British Isles. This is one of the chief reasons that lifts The Long Good Friday high above many of its contemporaries, it may be a simple story, but it's not merely about two gangs striving for power on one manor!
Barrie Keeffe's script positively bristles with a hard bastard edge, some of the set pieces play out as true Brirtish greats, once viewed they are not to be forgotten. Some of the dialogue has an air of timeless bravado about it, delivered with cockney brashness from Bob Hoskins' Harold Shand. Hoskins is on fire, seemingly revelling in the role and fusing menace with a genuine sense of earthiness, one moment Harold is the bloke you want to have a pint of beer with, the next he's one step from rage induced retribution. Helen Mirren is fabulous as Harold's wife, Victoria, loyal and unerringly calm in the face of the madness unfolding, while the supporting cast are also highly effective, with a cameo from Pierce Brosnan that is icy cold in making its point.
Perhaps now it feels like The Long Good Friday is only of its time, and it may well be that it's only British viewers of a certain age that can readily embrace the all encompassing thread of gangland London at risk from insurgents? But I will be damned should I ever choose to love this film less with each passing year, for to me it only just stops shy of being a British masterpiece, bristling with realism at a troubled time, and cheesing off Margaret Thatcher in the process, hell it works for me, always. 9/10
|
|
|
|
Post by hitchcockthelegend on May 23, 2019 5:55:29 GMT
BPM (Beats Per Minute)(17) Dead Man's Shoes(04)(rewatch) Embrace of the Serpent(15) To Each His Own(46) kick ass! Considine, Kebbell directed by Meadows, British Nirvana.
|
|
